For the 2014 edition of the Salone Milan, Depadova‘s latest product developments and the company’s idea of living were presented at Depadova’s permanent Milan showroom, on Corso Venezia. under a veritable deluge of drops of padded fabric.
The installation “Textile Rain” created by Jo Ann Tan draws its inspiration from the common feature shared by the three new products presented by De Padova : Upholstery
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New Collections Introduced by Depadova
The Mimic component sofa designed by Monica Förster,
Mimic, a name inspired by the unique talent for camouflage of the Mimic Octopus, which adapts to the various hues of the marine environment, comes from Monica Förster’s idea of designing a new kind of component sofa for De Padova.
To create design settings and permit contemporary reinterpretation of any type of space, Mimic has a simple form and an intrinsic movement created by the softness of the details in the seat and the cushions.
The combination of modules of different sizes and different backs allows Mimic to generate a wide range of seating possibilities, from the most standard to maxi formats, including poufs, making the model adapt perfectly to both home and contract applications.
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The Chesto armchair by Patrick Norguet
Careful workmanship, simple and precise lines, refined details: these are the key factors of Chesto, designed by Patrick Norguet. Formal moderation, elegant purity combined with the pursuit of comfort, are some of the distinctive traits of this designer, reflected in the Chesto armchair, which fits perfectly into the De Padova collection, for both residential and work contexts.
Patrick Norguet describes his chair as follows:
“For my first project with this great company, the idea began as a way of rethinking the historic, solid armchair with four legs, making it adaptable for use in a dining room or around a meeting table, with elegant, comfortable results.
My research focused on assembly details: a foam seat inserted in the wooden base, while highlighting the details in the frontal part, where the wooden legs and the joint act as support but also as a distinctive characteristic. The right mixture to make it unique, even when utilized in multiple groupings.”
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Smeralda, outdoor collection by Anna von Schewen
Smeralda, the armchair and small two-seat sofa designed by Anna von Schewen, comes from the desire to create a visually light, contemporary seat that would be extremely comfortable at the same time.
The structure in gently curved steel is based on the typology of ancient Greek chairs, combined with that of seats made with willow, where the bent branches create soft, continuous curves.
The internal padding has been developed for outdoor use.
“I wanted to create a visible and repeated connection between soft and solid, like the soft curves of the upholstered part and the solid structure in steel,” Anna von Schewen says.
“The elastic cords represent another detail that emphasizes this connection.”
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Are all upholstered pieces that find their ideal context in the è DePadova Collection.
The various tones and textures of the new fabrics selected by De Padova bring harmony, elegance and originality to the new creations, triggering a fluid connection with the installation.
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Deck multi-purpose chairs by Luca Nichetto ( 2013 enhanced )
About the 2014 Designers
About Monica Forster
Monica Förster, creator of some of the most internationally renowned objects in contemporary Swedish design today, is based in Stockholm but grew up close to the Artic circle in the very north of Sweden.
Her work is characterized by a strong sense of pure form mixed with a neverending curiosity for new materials and technology. Always trying to work in a cross-disciplinary way, she invents and renews typologies in industrial, furniture and object design.
Monica Förster, who is one of the top names within Swedish design, has created some of the future’s classic designs.
Monica Förster Design Studio is based in Stockholm, and works on an international level with companies such as Cappellini, Poltrona Frau, De Padova, Bernhardt, Whirlpool, Vibia, Tacchini, Modus, Offecct and Swedese.
She has been awarded numerous swedish and international awards such as Designer of the Year and has been exhibited all over the world in museums and institutions such as Moma NY and VA museum, London.
Monica Förster has also been represented in the International Design Yearbook.
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About Patrick Nourget
The apparent modesty of Patrick Norguet veils a spirit animated by the concerns of perfection, detail and an object well-made.
For the last 10 years, the designer with an atypical trajectory has thus engraved his name on the international design scene with strokes of precision, determination and discretion.
He approached the object through an encounter with the industrial world before pursuing his design studies in Paris (ESDI), the man maintains the same privileged relationship with a production tool as with the beauty of forms.
There is no place for the self-indulgent expression of the superego, ethereal concepts or media hype.
A descendent of Roger Tallon, Castiglioni, and more recent, Alberto Meda, Patrick Norguet considers himself an industrial designer.
He is radical in his search for purity, poetic in his sensibility of products and meticulous in his sense of detail.
With him, there is no theorization of the design practice, no inclination for confrontation with the rules of good taste, no pursuit of a gratuitous archetype or a new typology without foundation, no quest for excess or unessential by principle.
Beyond the pursuit of the ideal line and elegant formal beauty, Patrick Norguet loves the factories, ateliers, materials and the artisans who implement them, as well as deciphering the techniques and processes, and a passion for innovation.
He takes an empirical approach to each new project, by responding to the stakes of the firm rather than just the imperatives of contemporary communication.
This mental structure is parallel to those of his creations that he likes to imagine dissected piece by piece, like a photo by Guido Mocafico.
His taste for the beauty of the mechanical component, assemblage and functionality as well as his refusal for ornament – with the rare exception – sometimes leave us to think that he takes responsibility of the principles stated by Adolf Loos a century ago.
However, his esthetic genes are more Nordic than Austrian and his temperament is quite French.
With his sense of color, his formal restraint, his elegant purity coupled with character and his continual search for comfort, his work is in direct filiation with the canons of Nordic design.
Therefore, it’s not surprising that the designer develops creations with the Swedish brand, Offecct, or that he has assumed with finesse the torch of Pierre Paulin from the Dutch brand, Artifort.
It is first and foremost to Italy that he owes his success.
Primarily to Giulio Cappellini, who brought him to the limelight in 2000 by manufacturing his instant classic, Rainbow Chair, which is in the MoMA’s permanent collection, and Kristalia, Glas Italia, Poltrona Frau, Flaminia, Lapalma, Lea Ceramiche as well as Alias and Tecno, who see in the designer a real talent to imagine quality products that are also commercial and durable.
Plunging with delight into the ADN of design manufacturers, this aesthetic experimenter is accustomed to extracting and rewriting the identity of each brand while sowing the grains of innovation.
His professional experience is not foreign to this. Succeeding at the “school of Vuitton,” the designer had learned in his early years how to decipher brands by conceiving the scenography for Louis Vuitton, Dior, Guerlain and Lanvin, as well as engaging complex interior architecture for Lancel.
At 42, Patrick Norguet is an essential yet discrete figure in the tricolor scene. Somewhat atypical, he doesn’t lend himself to the exercise of free expression in a gallery, on the contrary, he finds pleasure in the constraint around the creation of a high-end office as much as the lunch environment of a McDonald’s restaurant.
His appetence for soft forms and understatement as well as his continual pursuit for the just form and color makes it one of his strengths that is perpetual and, at the same time, always on the tip of the French scene.
About Anna von Schewen
Swedish architect and designer Anna von Schewen was born in Stockholm.
She graduated from the University of Art, Craft and Design in Stockholm in 1995.
Part of her studies was at the UIAH – University of Art and Design in Helsinki.
After her graduation a scholarship brought her to a design studio in Copenhagen where she joined the design team for two years.
Back in Stockholm in 1997 Anna von Schewen starts her own design studio from where she works independently since.
Anna von Schewen has gained a reputation for her experimental and exploring approach to furniture design as well as exhibition design and architecture.
She has a Scandinavian attitude towards material and form and a strong interest in stretching material and techniques to create useful objects where concept and detailing merge.
She combines a great interest in textiles with architectural qualities.
Significant in her work is her interest in developing structures based on textile and she claim that tailoring is a kind of soft architecture.
From the beginning of her career until today, she has designed several award winning products for Gärsnäs, the oldest high-quality manufacturer of wooden furniture in Sweden.
Anna von Schewen also works with companies such as Lammhults, String and Svenskt Tenn in Sweden as well as De Padova and Zanotta in Italy.
Her design has been awarded Excellent Swedish Design 1998, 1999 and Excellent Swedish Design Design Prize 2002 and Best in Swedish Design for the EDIDA/Elle Decoration International Design Awards in 2002 and 2005. In 2003 she received the prestigious Bruno Mathsson Award.
In 2009 she was awarded “Best furniture of the year” by interior magazine Sköna Hem. Anna von Schewens work is represented in the permanent collections of Stedelijk Museum of Modern Art in Amsterdam, Kunstindustrimuseet in Oslo, Nationalmuseum in Stockholm and Röhsska Museum in Gothenburg.
Her work has been presented in exhibitions around the world and in many books and publications like the International Design Year Book and MD Design Year Book.
She has designed numerous exhibitions such as Excellent Swedish Design for Svensk Form (The Swedish Society of Crafts and Design) and Concept Design for Nationalmuseum in Stockholm.
She has also collaborated on exhibition design with Form Design Center in Malmö and companies like Dux, Boob, etc.
Together with industrial designer Björn Dahlström she designed the permanent exhibition at the Swedish Museum of Architecture in Stockholm as well as the museums travelling exhibition about Designer and architect Bruno Mathsson.
Anna von Schewen made her a name as an architect with the well published Kovilan project in 1998, a summerhouse for a private family.
The house was nominated to the Swedish Wooden House Award 2000.
The house is included in the “Ultimate house book” by Sir Terence Conran.
Anna von Schewen grew up in the city but by spending a considerable part of her childhood in the Stockholm archipelago where the nature and the activities of the sea was always present she developed her own personal platform towards the design profession
